NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

News

CISAC rallies support for private copying levy expansion in West Africa

09 Feb 2024 - 06:31

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An initiative by the West African Economic Monetary Union (UEMOA) to introduce private copying levies for creators across the region has moved into a new phase, with the International Confederation of Societies of Authors and Composers (CISAC) taking the lead at an implementation training seminar in Abidjan, Ivory Coast.

CISAC vice-president Yvonne Chaka Chaka speaking during the regional seminar on the implementation of private copying levies in the UEMOA trade bloc. Photo: Hermann Doubouyou

South African musician and CISAC vice-president Yvonne Chaka Chaka joined government officials, enforcement agencies and other parties involved in the implementation of the private copying directive. She thanked the economic bloc for supporting creators and encouraged further efforts to complete the process.

In September 2023, the council of ministers of the eight UEMOA member states – Benin, Burkina Faso, Ivory Coast, Mali, Niger, Senegal, Togo and Guinea-Bissau – unanimously adopted a new regional directive to harmonise rules on private copying. CISAC has played a key advisory role on the legislation, which promises bigger revenues for creators and the creative industries. Only two UEMOA countries, Burkina Faso and Ivory Coast, currently have functional private copying schemes.

A private copying levy is a government-mandated system in which an added tax is charged on purchases of recordable media like CDs, hard drives and USB flash drives.

In a keynote address to the seminar on 5 February, Yvonne Chaka Chaka lauded the regional community for helping to reward creators with a new remuneration stream.

“I really want to congratulate you and the UEMOA commission for enabling the adoption of the directive on private copying,” she said. “The strategy, which has been elaborated during the seminar, will be instrumental to make sure creators, in the next two years, get more revenues and realise even more the potential of their creativity. We need to put in place and enforce policies which protect creators. They are part of a value chain which contributes to the socio-economic development of our countries.”

She called for the directive to be implemented as a “fast-track” priority in each of the member states. This involves technical cooperation between the relevant parties, including collective management organisations, hardware and device makers, policymakers and enforcement agencies. “Training is needed to prepare customs officials. An education programme is needed, supported by governments, to ensure there is public understanding of the benefits of the private copying system.”

CISAC has played a key role in providing legal and operational guidance around the new directive, with Yvonne Chaka Chaka saying creators in Africa depend on efficient and well-managed revenue streams. Big commercial users, in particular, were obliged to pay royalties to creators, she said.

“This is the mission of the collective management system, which CISAC oversees internationally. In that context, this seminar was a really important milestone for establishing and extending effective new revenue streams for creators in Africa.”

She added that the legislative instrument introduced among UEMOA’s eight members should be extended to the 15 countries of the Economic Community of West African States (ECOWAS) to empower more creators.

Private copying levies deliver significant remuneration to creators of music and other repertoires internationally. CISAC’s latest Global Collections Report shows that private copying raised income of €368m for creators around the world in 2022.

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